I might agree with your Canon eccentricities comment -Drama. And can someone tell me why they have to release both a PL and an EF model at $20,000 each??? LOL, you mean to tell me the tech wizards at canon couldn't design one with a modular/swapable mount. Pop out the EF mount and swap it for a PL mount? Really not inspiring confidence here guys...
Or not even that, EF mount is 44mm, PL mount is 52mm. I can go to ebay right now and get a $10 adapter to mount a PL lens on my 7D. Anyone who buys the PL-mount C300 is locking themselves out of the EF-mount for not much benefit, but anyone who buys the EF-mount can use EF *and* PL (and not to mention, nikon, Olympus OM, pentax, M42, all Medium Format) lenses.
The only reason I can see for releasing a PL-mount C300 is to keep all the hollywood types (who don't understand much about mounts except for "i must have PL mount") happy.
There's a bit more to it that just swapping mounts, if you want to keep the focus scale (and we're talking to people who use tape measures and depth of field tables here) then here's a link to Zeiss' take on swapping mounts. http://www.youtube.com/watch?v=F6807EKs1SU They have to take special care to align and calibrate each lens to each camera and insert slender shims to make it exact. Ten minute job if you're good.
Zeiss Compact Primes are basically the familiar lenses we know from 35mm rehoused in cine compatible barrels and with smoother apertures and accurate distance scales. They have to be all the same size to fit the focusing mechanisms used by the focus puller (yes, that's a skilled job in itself).
The new Canon primes sound to me like our fast EF L-primes, similarly rehoused, going from 24mm f1.4 to 24mm T1.5, and 50mm and 85 f1.2 to T1.3 and without AF. Noted Canon doesn't really shout about these ones being all-new designs.
The difference between f stop and T stop was once explained to me as f is for people who like buying lenses, T is for people who like to stop the swearing in edit suites because of inconsistent exposure with different lenses.
On balance, reading a lot of the announcements and discussion, much of what Canon has done here is listen to the people who have to pay for post-production and do everything they can to avoid additional work on the images. I've heard (someone from a big studio, can't recall which one) the cost savings of shooting films for TV with a 5DII is taken out by increased post-processing work needed.
On the other hand, they may simply be taking the battle to Zeiss, who could be giving them cause for concern through their cosy relationship with Sony.
On the splitting camera lines into stills and video, there may be some business justification there. Broadcast rights and still image rights to big events (like the FIFA World Cup) are sold separately. These are huge content deals and there were rumblings in South Africa about the photographers upsetting the broadcasters by pitching up with cameras shooting HD material just as easily as taking stills.
For $6800/each it better be something more than an old L lens in a new housing